Estampa, feria de arte contemporáneo
9 - 12 OCT 2025
Madrid, Ifema, Booth 6D12
Embedded Files
Upcoming Exhibition, Murcia, Spain.
Gianni Colosimo
Curated by: Nicola Angerame
Gianni Colosimo (1953, Santa Severina, Calabria, Italia). Estudió Historia del Teatro en la Universidad de Turín. Al terminar sus estudios, en 1977 realizó su primera acción performativa en la galería Giorgio Persano de Turín, dando inicio a una carrera artística dominada por la experimentación y la performance.
Desde finales de los años 70, Colosimo se integró en la escena experimental italiana. En 1977 estrenó Berlinguer mon amour en la Academia Albertina de Turín, y al año siguiente presentó la performance Freud Mein Freund en la galería de Giorgio Persano. Trasladado a Roma en 1978, participó activamente en espacios como el Beat 72 y el Spazio Uno.
En 1981 presentó en la Galería Nacional de Arte Moderno de Roma la instalación-performance Il grande sonno della trapezista, donde pagó al público por asistir, invirtiendo los roles tradicionales de artista y espectador.
A lo largo de los años 80 continuó explorando medios conceptuales. En 1984 presentó Nebbia di latte (Mist of Milk) en el Castello di Rivoli (Turín), y en 1990 realizó la pieza Gli amori dei sette peccati. En 1982 defendió una tesis sobre Yves Klein y el “Teatro del Vacío”, afianzando su interés por la estética conceptual. A partir de 1990 abandonó temporalmente la performance para dedicarse a la pintura, inspirada en el arte primitivo, e inició una serie de obras con billetes de dólar. En 1997 retornó a la performance con Nutella Gutenberg, representada en Turín. Casi al mismo tiempo, fundó la asociación cultural Infinito LTD, con la que organizó el festival performativo “Torino Chiama: Infinito Ltd” (2000-2001), al tiempo que abría y dirigía la Galleria Infinito LTD hasta 2004.
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En 2006 inauguró en la Galleria Pack de Milán la instalación Wallpaper: il vortice del desiderio è privo d’orizzonte, recubriendo paredes y suelo con más de 100,000 billetes de un dólar. Esta obra, que cuestiona el valor del dinero y el fetichismo monetario, obtuvo gran repercusión crítica y fue repetida en 2008 en la galería Motelsalieri de Roma bajo el título Senza scarpe in un baratro di errori.
Ese mismo año participó en la Bienal Internacional de Escultura de Carrara (2008), presentando la pieza Ai caduti per l’Arte. Entre 2009 y 2010 realizó Il silenzio incestuoso della mia ombra ferita, una muestra dispersa en las páginas de las revistas artísticas Exibart, Mousse, Nero y Artforum.
En la década de 2010 desarrolló proyectos internacionales. En 2011 coprodujo con el Centre Pompidou-Metz la exposición itinerante L’arte contemporanea raccontata ai bambini (Arte contemporánea explicada a los niños), basada en su proyecto “Magicaboola”. Ese año también participó en la II Bienal de Alessandria con la instalación Don Yuan: c’è del latte e del miele sotto la tua lingua cinesegiannicolosimo.it. En 2012 esta muestra se llevó ampliada a La Sucrière de Lyon, junto con treinta obras nuevas, y Colosimo presentó la performance L’orso e il toro: un amplesso misericordioso en la galería Sponge Arte Contemporánea de Turín.
En 2013 expuso L’arcana profezia delle sette vacche tibetane en el Palacio Binelli de Carrara (en el marco de la Marble Week) y luego en la galería Baudoin Lebon de Parísgiannicolosimo.it. En 2014 realizó dos exposiciones personales en Turín: en junio en la galería Riccardo Costantini Contemporary (obras nuevas) y en noviembre en The Bank (“Starring Colosimo”), además de participar en la muestra colectiva “Surprise” (GAM Torino), donde revisitó su Grande sonno della trapezista de 1981giannicolosimo.it. Ese año, su obra Wallpaper fue homenajeada en la exposición “Shit & Die” (Palacio Cavour, Turín) por el artista Eric Doeringer, que tapizó de billetes la escalera principal.
En 2015 presentó en Roma Resurrezione, en la Galería Giacomo Guidi, centrada en el tema del dinero y la economía con humor negro. En años recientes, destaca la muestra Ammutinamento (2019) en la Riccardo Costantini Contemporary de Turín. En 2024 contrajo matrimonio con la artista Luisa Bruni; juntos han iniciado colaboraciones artísticas, como la coorganización de la exposición “Don Yuan – There is milk and honey under your tongue” en Turín, que también se presentó en París.
Colosimo se inscribe en la tradición del arte conceptual y de la performance crítica. Desde sus inicios reinterpreta la estética de Yves Klein, Piero Manzoni y el situacionismo, poniendo en cuestión la “sociedad del espectáculo” y las convenciones artísticasarte.it. Sus performances (como pagar al público por asistir) invierten roles tradicionales y destacan la relación artista-espectadorarte.itarte.it. A lo largo de su obra predomina la ironía y la provocación: emplea citas, parodias y apropiaciones de la cultura popular y del arte moderno, mezclando tragedia y comediaarte.
Un tema recurrente en su producción es el dinero y sus contradicciones sociales. Colosimo explora el valor monetario del arte, las dinámicas de mercado y las paradojas de la economía global, siempre desde una perspectiva crítica y desmitificadoraarte.itarte.it. Por ejemplo, su instalación Wallpaper convierte el billete de un dólar en material decorativo, cuestionando la esencia del valor artístico. Otras obras y acciones satirizan instituciones financieras (como el monumento a Lehman Brothers en Resurrezione, 2015) o exploran iconografías políticas (su colección inspirada en la China contemporánea, recientemente mostrada en Don Yuan). En general, su estilo mezcla el desempeño en vivo con instalaciones e intervenciones en el espacio, manteniendo una actitud lúdica y de “extrañamiento” brechtiano: provoca la reflexión crítica del espectador sin didactismos.
Numerosas exposiciones colectivas de relevancia: la exposición Una generazione postmoderna (1982) en el Palazzo delle Esposizioni de Roma, las Bienales de Carrara (2008, 2009) y de Alessandria (2011), la Bienal de Venecia 2011 (Pabellón Italiano), y muestras curatoriales como Shit & Die de Maurizio Cattelan (Turín, 2014/15)
A lo largo de su carrera Colosimo ha colaborado con instituciones culturales y otros creadores. Destaca su alianza con el Centre Pompidou-Metz (Francia), que coprodujo su muestra para niños L’arte contemporanea raccontata ai bambini (2011), ampliada al año siguiente en Lyon. Ha participado en proyectos curatoriales al lado de expertos como Patrick Amine (Pompidou) y Sabrina Raffaghello (Bienal de Alessandria). Desde finales de los 90 también ejerció de mecenas: con la asociación Infinito Ltd organizó el festival Torino Chiama (2000-2001) y, junto a ello, fundó la Galleria Infinito LTD (2003-2004) para apoyar artistas emergentes.
En el ámbito artístico, Colosimo colabora con su esposa Luisa Bruni (artista de joyería contemporánea): en 2023 se casaron y presentaron juntos proyectos como “Don Yuan”, una instalación inmersiva inspirada en la iconografía china. Además, ha sido fuente de inspiración para artistas posteriores (por ejemplo, Eric Doeringer reinterpretó Wallpaper en su homenaje para la expo “Shit & Die” de 2014).
A lo largo de su carrera, Colosimo ha evolucionado desde el arte performativo de los años 70 hacia instalaciones y proyectos interdisciplinarios sin perder su hilo crítico. Su obra temprana, ligada al postmoderno y a la vanguardia italiana, incorporaba acciones en espacios teatrales y galerías. Con el tiempo incorporó la escultura, la instalación ambiental y la intervención conceptual, manteniendo siempre el humor ácido y la reflexión sociopolítica. Aunque amplió sus públicos (incluyendo espectáculos para niños) y medios (pintura, objetos, performance multimedia), la constante ha sido su cuestionamiento de las reglas del arte y del capitalismo. En sus trabajos recientes persiste la dialéctica dinero-arte, el análisis irónico de la economía global y el estímulo a la duda crítica del espectador.
Gianni Colosimo was born in 1953 in Santa Severina (Province of Crotone, Calabria, Italy). He studied Theatre History at the University of Turin. Upon completing his studies, in 1977 he staged his first performance at the Giorgio Persano Gallery in Turin, thus inaugurating an artistic career marked by experimentation and performance. From the late 1970s onwards, Colosimo became an integral figure in the Italian experimental art scene. In 1977 he premiered Berlinguer mon amour at the Albertina Academy in Turin, and the following year he presented the performance Freud Mein Freund at the Giorgio Persano Gallery. After moving to Rome in 1978, he became involved in venues such as Beat 72 and Spazio Uno. In 1981, at the National Gallery of Modern Art in Rome, he presented the installation-performance Il grande sonno della trapezista, in which he paid the public to attend, thus inverting the conventional roles of artist and spectator.
Gianni Colosimo was born in 1953 in Santa Severina (Province of Crotone, Calabria, Italy). He studied Theatre History at the University of Turin. Upon completing his studies, in 1977 he staged his first performance at the Giorgio Persano Gallery in Turin, thus inaugurating an artistic career marked by experimentation and performance. From the late 1970s onwards, Colosimo became an integral figure in the Italian experimental art scene. In 1977 he premiered Berlinguer mon amour at the Albertina Academy in Turin, and the following year he presented the performance Freud Mein Freund at the Giorgio Persano Gallery. After moving to Rome in 1978, he became involved in venues such as Beat 72 and Spazio Uno. In 1981, at the National Gallery of Modern Art in Rome, he presented the installation-performance Il grande sonno della trapezista, in which he paid the public to attend, thus inverting the conventional roles of artist and spectator.
Throughout the 1980s, he continued to explore conceptual practices. In 1984 he presented Nebbia di latte (Mist of Milk) at the Castello di Rivoli (Turin), and in 1990 he staged Gli amori dei sette peccati. In 1982 he defended a thesis on Yves Klein and the “Theatre of the Void”, thereby consolidating his interest in conceptual aesthetics.
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From 1990 onwards, Colosimo temporarily left performance art to dedicate himself to painting, inspired by primitive art, and initiated a series of works employing U.S. dollar bills. In 1997 he returned to performance with Nutella Gutenberg, staged in Turin. Almost simultaneously, he founded the cultural association Infinito LTD, with which he organized the performance festival “Torino Chiama: Infinito Ltd” (2000–2001), while also opening and directing the Infinito LTD Gallery until 2004.
After 2005 Colosimo resumed his large-scale visual career. In 2006 he inaugurated at the Galleria Pack in Milan the installation Wallpaper: il vortice del desiderio è privo d’orizzonte, covering the walls and floor with more than 100,000 U.S. dollar bills. This work, which interrogates the fetishism of money and its artistic value, received wide critical attention and was reprised in 2008 at Motelsalieri Gallery in Rome under the title Senza scarpe in un baratro di errori. That same year he participated in the International Biennale of Sculpture in Carrara (2008), presenting the piece Ai caduti per l’Arte. Between 2009 and 2010 he produced Il silenzio incestuoso della mia ombra ferita, an exhibition dispersed across the pages of the art journals Exibart, Mousse, Nero, and Artforum.
During the 2010s, Colosimo developed international projects. In 2011 he co-produced with the Centre Pompidou-Metz the itinerant exhibition L’arte contemporanea raccontata ai bambini (Contemporary Art Explained to Children), based on his “Magicaboola” project. That year he also took part in the II Biennale of Alessandria with the installation Don Yuan: c’è del latte e del miele sotto la tua lingua cinese, conceived together with the artist Luisa Bruni. In 2012 this project was expanded at La Sucrière in Lyon with thirty additional works, and Colosimo also presented the performance L’orso e il toro: un amplesso misericordioso at Sponge Arte Contemporanea in Turin.
In 2013 he exhibited L’arcana profezia delle sette vacche tibetane at Palazzo Binelli in Carrara (within the Marble Week festival) and later at Baudoin Lebon Gallery in Paris. In 2014 he staged two solo exhibitions in Turin: in June at Riccardo Costantini Contemporary (new works) and in November at The Bank (“Starring Colosimo”), as well as participating in the group exhibition “Surprise” (GAM Torino), where he revisited his Grande sonno della trapezista of 1981. That year, his work Wallpaper was celebrated in the exhibition “Shit & Die” (Palazzo Cavour, Turin), curated by Maurizio Cattelan, in which artist Eric Doeringer covered the main staircase with dollar bills in homage to Colosimo’s piece.
In 2015 he presented his first solo show in Rome, Resurrezione, at Galleria Giacomo Guidi, a project centred on money and economics, approached with mordant humour. More recently, the exhibition Ammutinamento (2019) at Riccardo Costantini Contemporary in Turin stands out. In 2024 he married Luisa Bruni; together they launched artistic collaborations, such as the joint organization of the exhibition “Don Yuan – There is milk and honey under your tongue” in Turin, later shown in Paris.
Colosimo belongs to the tradition of conceptual art and critical performance. From the outset he reinterpreted the aesthetics of Yves Klein, Piero Manzoni, and Situationism, questioning the “society of the spectacle” and artistic conventions. His performances (such as paying the audience to attend) inverted traditional roles and highlighted the artist-spectator relationship. Irony and provocation pervade his oeuvre: he employs quotations, parody, and appropriation from popular culture and modern art, intermingling tragedy with comedy.
A recurrent theme in his production is money and its social contradictions. Colosimo probes the monetary value of art, market dynamics, and global economic paradoxes, always from a critical and demystifying perspective. For instance, his installation Wallpaper turns the dollar bill into a decorative material, thereby questioning the essence of artistic value. Other works and actions satirize financial institutions (such as the Lehman Brothers monument in Resurrezione, 2015) or explore political iconographies (his series inspired by contemporary China, as recently displayed in Don Yuan). His style merges live performance with installation and spatial intervention, while maintaining a Brechtian sense of estrangement: provoking critical reflection without didacticism.
He also participated in important group exhibitions: Una generazione postmoderna (1982, Palazzo delle Esposizioni, Rome), the Carrara Biennales (2008, 2009), the Alessandria Biennale (2011), the Venice Biennale 2011 (Italian Pavilion), and curatorial projects such as Shit & Die (Turin, 2014/15). He has also exhibited at international art fairs such as ARCO (Madrid) and Artissima (Turin).
Colosimo has collaborated with cultural institutions and artists throughout his career. His alliance with the Centre Pompidou-Metz (France) produced his children’s exhibition L’arte contemporanea raccontata ai bambini (2011), later expanded in Lyon. He has also worked with curators such as Patrick Amine (Pompidou) and Sabrina Raffaghello (Biennale of Alessandria). In the late 1990s he also acted as patron: through Infinito Ltd he organized the festival Torino Chiama (2000–2001) and founded the Infinito LTD Gallery (2003–2004) to support emerging artists.
Artistically, Colosimo collaborates with his wife Luisa Bruni (a contemporary jewellery artist). They married in 2023 and have since presented joint projects such as “Don Yuan”, an immersive installation inspired by modern Chinese iconography. He has also influenced later artists, for example Eric Doeringer, who reinterpreted Wallpaper in his homage for the exhibition Shit & Die (2014).
Colosimo has evolved from the performance art of the 1970s towards interdisciplinary installations and projects, without ever relinquishing his critical edge. His early work, linked to postmodernism and the Italian avant-garde, involved actions in theatrical spaces and galleries. Over time he embraced sculpture, installation, and conceptual interventions, always infused with irony and socio-political reflection. He has broadened his audiences (including children) and media (painting, objects, multimedia performance), while maintaining his constant questioning of artistic rules and capitalism. His most recent works continue to explore the dialectic of money and art, an ironic analysis of global economics, and the provocation of critical doubt in the viewer.
Upcoming Exhibition, Murcia, Spain.
Gary Hill
Curated by: Mario Gutiérrez Cru
Gary Hill (Santa Mónica, California, 1951) es una figura central en el arte electrónico y el video experimental. Su obra transita desde la escultura metálica de finales de los años 60 hasta complejas instalaciones audiovisuales que exploran la materialidad del lenguaje, la percepción sensorial y la interacción del espectador. Su práctica interdisciplinaria abarca video, sonido, performance y escultura, y se caracteriza por una profunda reflexión sobre la ontología del lenguaje y la experiencia perceptiva.
Entre sus obras destacadas se encuentran Electronic Linguistic (1977), Incidence of Catastrophe (1987–88) y Tall Ships (1992), que ejemplifican su interés por la intersección entre texto, imagen y sonido, creando experiencias inmersivas que cuestionan la naturaleza misma de la comunicación y la percepción.
La influencia de Hill en el arte contemporáneo se ha visto reflejada en numerosas exposiciones individuales en instituciones de renombre internacional, como el Centre Pompidou en París, el Museo Guggenheim en Nueva York y el Museu d’Art Contemporani en Barcelona. Su obra ha sido reconocida con prestigiosos premios, entre ellos el León de Oro en la Bienal de Venecia (1995) y una MacArthur Fellowship (1998), consolidando su posición como una de las voces más innovadoras en el arte de los nuevos medios.
Gary Hill (Santa Monica, California, 1951) is internationally recognized as one of the most groundbreaking pioneers in electronic and new media art. From his early metal sculptures in the late 1960s to the sophisticated audiovisual installations that would define his mature practice, Hill has consistently pushed the boundaries of perception, language, and the viewer’s role in the experience of art. His work traverses video, sound, performance, text, and sculpture, often blurring the limits between these media to generate poetic, philosophical, and immersive spaces.
Signature works such as Electronic Linguistic (1977), Incidence of Catastrophe (1987–88), and Tall Ships (1992) reveal Hill’s longstanding exploration of the dynamic interplay between image, sound, and meaning. In these and other installations, language is not simply a tool but a living entity—spoken, fractured, embodied—calling attention to the fragile relationship between cognition and sensory experience.
Hill’s work has been the subject of major solo exhibitions at prestigious institutions including the Centre Pompidou (Paris), the Guggenheim Museum (New York), and the Museu d’Art Contemporani de Barcelona. His artistic excellence has been recognized with numerous awards, notably the Golden Lion at the Venice Biennale (1995) and a MacArthur “Genius” Fellowship (1998).
Hill’s practice not only represents a cornerstone of media art history but also a continuously relevant and evolving contribution to conceptual discourse, one that challenges, engages, and transforms the viewer.
Upcoming Exhibition, Murcia, Spain.
Han Bing
Curated by: Laura Clemente
Han Bing, nació en una aldea empobrecida de China, donde pasó su infancia ayudando a sus padres en el trabajo agrícola. Fue la única estudiante de su clase con la oportunidad de acceder a la universidad, donde se formó en pintura al óleo antes de ampliar su práctica hacia medios menos convencionales.
Su trabajo posterior a la universidad se ha centrado en generar un discurso espontáneo y abierto que involucra a colectivos habitualmente excluidos o marginados. Como muchas artistas de su generación en China, se siente impulsada a confrontar los efectos secundarios, a menudo cuestionables de la obsesión de su país con la urbanización y la modernización a cualquier precio.
Han Bing, was born in a poverty-stricken village in China, where she spent her childhood helping her parents with agricultural work. She was the only student in her class given the opportunity to attend university, where she trained in oil painting before expanding her practice into less conventional media.
Since then, her work has focused on generating spontaneous and open-ended discourse that engages communities often excluded or marginalized. Like many artists of her generation in China, she feels compelled to confront the often-questionable side effects of her country’s obsession with urbanization and modernization at any cost.
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